Since the March episode of xxyyzz transmission was constructed in the manner of a mixtape, focusing on the flow of the tracks and how it would transition with what would be coming next in the playing sequence, it seemed a shame to then leave it only in the form of a occasionally punctuated podcast.
And so, for one month only, we present you with Taylarz Transmission: Bangarang
All the same great music, with no presenter present....
Showing posts with label Skrillex. Show all posts
Showing posts with label Skrillex. Show all posts
Friday, 14 April 2017
Friday, 31 March 2017
xxyyzz transmission episode 3 (march 2017)
The latest edition of xxyyzz transmission, hosted by Glen Byford, goes for a slightly different vibe to previous months, but is still full of the best new and recent music around
To help keep up with all the artists featured in xxyyzz transmission episode 3, a full track listing features below, including relevant links to music streaming sites or social media accounts where possible.
1. Missy Elliott - I Give You Power feat. Mavis Staples
2. Wiley - Common Cold
3. Reel Feels- She Said
4. Deep Throat Choir - No CD
5. Silver Liz - Didi At Night
6. Trash Castle - Black ft JME & Dizzee Rascal
7. Cloud302 - What's That (Is It a Monster?)
8. Skrillex - Raoul
9. Fatboy Slim- Mister Mental
10. Soul Link - Jacknife And The Death Call
11. Wood N Head- Teenage White Boy
12. Cruel Waves- The Dead Guy
13. The xx - Hallelujah Money feat. Benjamin Clementine
Tuesday, 24 January 2012
the unlikely return of Nu-Metal
these are strange, uncertain and occasionally exciting times for the music industry.
the market growth and profits of major labels is not the issue at hand as far as i am concerned right now.
more so, it is the cross pollination of genres that sparks my interest.
although the liberal borrowing from a thriving genre is certainly not a new idea, it is certainly churning out some polarising efforts and unlikely collaborations from those striving to remain relevant.
riding on the coattails of the inescapable wave of dubstep that swallowed whole continents in 2011, we now see bloggers' favourites turning their hands to production duties for returning icons from a bygone musical age.
writing this specifically with Korn's most recent effort in mind, their tenth studio album most prominently featured collaborations with flavour of the month Skrillex, as well as a number of other electronic producers in an attempt to re-tool a tried and tested formula for a new generation.
and now it is the turn of Cypress Hill to foray into the realms of pulsating bass as they team up with Mad Decent alumni Rusko for a dubstep EP due out in April, having found their way from Hip Hop and through the other side of Nu-Metal, an incredible 21 years since their breakthrough single 'How Could I Just Kill A Man' was released in 1991.
i am still yet to cast aspersions on the whole of the new Korn album and whether all this band wagon jumping is manipulated by shady puppetmasters wanting to sink their teeth into new trends, or whether this is genuine re-invention spurned on by a passion for dabbling in exciting genres that are now growing out of their infancy.
but with the rap-metal fusion that both influenced and was influenced by Nu-Metal some ten years behind us, and given the cyclical nature of music trends that keep coming back around, will these collaborations inspire another attempt at returning to the mainstream by the floundering Limp Bizkit, this time on an album helmed by Caspa, or perhaps even Papa Roach teaming up with the filthy warped bass monster Borgore.
while at first the very idea of it sounded unlikely and a rather desperate attempt to be 'down with the kids', personally, i feel that Korn's Narcissistic Cannibal is something of a revelation for me from a band that has been drifting slowly out of favour and has also created something new that is infused with the ever-more integrated dubstep sound, creating a hybrid Nu-Step which is just as abrasive as the first parent-upsetting and face-shredding riffs of Nu-Metal that hit our shores over a decade ago.
the market growth and profits of major labels is not the issue at hand as far as i am concerned right now.
more so, it is the cross pollination of genres that sparks my interest.
although the liberal borrowing from a thriving genre is certainly not a new idea, it is certainly churning out some polarising efforts and unlikely collaborations from those striving to remain relevant.
riding on the coattails of the inescapable wave of dubstep that swallowed whole continents in 2011, we now see bloggers' favourites turning their hands to production duties for returning icons from a bygone musical age.
writing this specifically with Korn's most recent effort in mind, their tenth studio album most prominently featured collaborations with flavour of the month Skrillex, as well as a number of other electronic producers in an attempt to re-tool a tried and tested formula for a new generation.
and now it is the turn of Cypress Hill to foray into the realms of pulsating bass as they team up with Mad Decent alumni Rusko for a dubstep EP due out in April, having found their way from Hip Hop and through the other side of Nu-Metal, an incredible 21 years since their breakthrough single 'How Could I Just Kill A Man' was released in 1991.
i am still yet to cast aspersions on the whole of the new Korn album and whether all this band wagon jumping is manipulated by shady puppetmasters wanting to sink their teeth into new trends, or whether this is genuine re-invention spurned on by a passion for dabbling in exciting genres that are now growing out of their infancy.
but with the rap-metal fusion that both influenced and was influenced by Nu-Metal some ten years behind us, and given the cyclical nature of music trends that keep coming back around, will these collaborations inspire another attempt at returning to the mainstream by the floundering Limp Bizkit, this time on an album helmed by Caspa, or perhaps even Papa Roach teaming up with the filthy warped bass monster Borgore.
while at first the very idea of it sounded unlikely and a rather desperate attempt to be 'down with the kids', personally, i feel that Korn's Narcissistic Cannibal is something of a revelation for me from a band that has been drifting slowly out of favour and has also created something new that is infused with the ever-more integrated dubstep sound, creating a hybrid Nu-Step which is just as abrasive as the first parent-upsetting and face-shredding riffs of Nu-Metal that hit our shores over a decade ago.
Saturday, 7 January 2012
BBC Sound of 2012
in an exercise of self-fulfilling prophecies, BBC's sound of 2012 has just announced London soul singer Michael Kiwanuku as being at the pinacle of acts that they are tipping for the top this year
UK based 'tastemakers' are polled for their favourite acts that look ready to break though in the upcoming 12 months, yet it hardly seems surprising that most years have seen these people plump for those that are already riding on a considerable amount of hype
the voting system that it is founded on is basically a glorified popularity contest, with those topping the pile being the acts that are increasingly harder to avoid come November as record label's PR's must have become increasingly savvy to the elevated profile that the poll has garnered in recent years, and the timing of their client's game-plan will no doubt be scheduled with this in mind.
perhaps it is cynicism or the fact that the record industry is becoming more transparent with it's business activities, but in many cases it only serves to heap more hype on an already hyped act and sealing their fate of chart supremacy with that little extra nod.
with that said, perhaps we are looking at the most leftfield choices yet that seem to skirt some of the more obvious radio fodder
with genres bouncing around from the cool electro-pop of Swedish trio, Nikki and The Dove to the smack-in-the-face screeching dubstep of Skrillex landing at fifth and fourth place respectively, and the lurid rhymes of the already much-hyped Azealia Banks in third, we seem to have quite a mixed melting pot ready to be served to us this year.
stream: Avicci - Levels (Skrillex remix)
second placed Frank Ocean is personally my favourite of the listed acts announced, the best thing about Odd Future, who were themselves heaped with unfathomable hype last summer, Ocean has been operating under the rader writing for Beyonce and John Legend, and made a transitional shift with his productions on Jay-Z and Kanye West's Watch The Throne following on from his own unique nostalgia,ULTA mixtape that i have not been able to get enough of and have had on repeat in the months when the sun still shone, after delving deep and finding it languishing unheard on my generic mp3 player.
which brings us to the 'winner', Michael Kiwanuku, who i must admit to being rather ignorant of until december just past, and although he may not be as abrassive as Azealia Banks and Skrillex, nor as innovative as Frank Ocean, i can't help but like him.
perhaps i am mellowing as time passes ever faster, but Kiwanuku's music that i have heard so far is soothing and evocative, and a welcome change of pace from dance-hip-hop hybrids that clog the airwaves and a real 180 degrees about face from last years winner, Jessie J's upbeat urban-pop
musically, Michael Kiwanuku sits somewhere between Jack Johnson and Damian Rice in terms of style and may signal a revitalised male singer-songwriter presence in the mainstream, following on from the success of Ed Sheeran and wrestling attention away from the dominating female forces of previous winners Adele and Elle Goulding and 2009 runner-up Florence and the Machine.
releasing his music via the Communion label that was set up by Mumford and Sons' Ben Lovett (who were inescapable in 2010) and having supported Adele on tour in 2011, Kiwanuku will surely be on the right track for replicating the track records of both of these acts in 2012.
UK based 'tastemakers' are polled for their favourite acts that look ready to break though in the upcoming 12 months, yet it hardly seems surprising that most years have seen these people plump for those that are already riding on a considerable amount of hype
the voting system that it is founded on is basically a glorified popularity contest, with those topping the pile being the acts that are increasingly harder to avoid come November as record label's PR's must have become increasingly savvy to the elevated profile that the poll has garnered in recent years, and the timing of their client's game-plan will no doubt be scheduled with this in mind.
perhaps it is cynicism or the fact that the record industry is becoming more transparent with it's business activities, but in many cases it only serves to heap more hype on an already hyped act and sealing their fate of chart supremacy with that little extra nod.
with that said, perhaps we are looking at the most leftfield choices yet that seem to skirt some of the more obvious radio fodder
with genres bouncing around from the cool electro-pop of Swedish trio, Nikki and The Dove to the smack-in-the-face screeching dubstep of Skrillex landing at fifth and fourth place respectively, and the lurid rhymes of the already much-hyped Azealia Banks in third, we seem to have quite a mixed melting pot ready to be served to us this year.
stream: Avicci - Levels (Skrillex remix)
second placed Frank Ocean is personally my favourite of the listed acts announced, the best thing about Odd Future, who were themselves heaped with unfathomable hype last summer, Ocean has been operating under the rader writing for Beyonce and John Legend, and made a transitional shift with his productions on Jay-Z and Kanye West's Watch The Throne following on from his own unique nostalgia,ULTA mixtape that i have not been able to get enough of and have had on repeat in the months when the sun still shone, after delving deep and finding it languishing unheard on my generic mp3 player.
which brings us to the 'winner', Michael Kiwanuku, who i must admit to being rather ignorant of until december just past, and although he may not be as abrassive as Azealia Banks and Skrillex, nor as innovative as Frank Ocean, i can't help but like him.
perhaps i am mellowing as time passes ever faster, but Kiwanuku's music that i have heard so far is soothing and evocative, and a welcome change of pace from dance-hip-hop hybrids that clog the airwaves and a real 180 degrees about face from last years winner, Jessie J's upbeat urban-pop
musically, Michael Kiwanuku sits somewhere between Jack Johnson and Damian Rice in terms of style and may signal a revitalised male singer-songwriter presence in the mainstream, following on from the success of Ed Sheeran and wrestling attention away from the dominating female forces of previous winners Adele and Elle Goulding and 2009 runner-up Florence and the Machine.
releasing his music via the Communion label that was set up by Mumford and Sons' Ben Lovett (who were inescapable in 2010) and having supported Adele on tour in 2011, Kiwanuku will surely be on the right track for replicating the track records of both of these acts in 2012.
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